Breadcrumbs success at Tête à Tête
I am delighted to be able to report an excellent reception of Breadcrumbs, my dramatic monologue for unaccompanied soprano (with cor anglais introduction) at this year’s Tête à Tête: The Opera Festival at Kings Place on 10 and 11 August. Performed by Charlotte Richardson, soprano, and Clemmie Curd, cor anglais, the piece was directed by Omar Shahryar and […]

Adventures in amateurism
In which I realise how embracing my 'amateur' skills could open up new areas for composing

Justifying normal
Experimental music in a standard recital format? Why I'm considering it for Crossing Dartmoor...

Chance vs choice: Composing with dice
A roll of the dice gives a fresh perspective on composed material

One evening, four songs
Four songs in a single evening? And a decent night's sleep? This research lark is proving useful!

The power of the single idea: How playing the comb is improving my composition
Even when a concept is simple, the music needn't be.

Procrastination = Fear
Risk-taking can be terrifying, but it can also lead to much greater rewards of artistic development than playing it safe... at least I hope it will!

Graphic scores, text scores, freedom and ownership
What elements make a piece 'belong' to a composer? How much does a performer's own personal musical language make a graphic score piece 'theirs' rather than 'mine'? A gentle toe in the water of the question of ownership via two recently completed pieces: the text score Parlour Game and the graphic composition Sepiascape with Grey.

Cut’n’paste job: Constructing a text from multiple sources
New term, new pieces! Starting work on research and text-construction for a new choral piece commissioned by the Trinity Laban Chamber Choir.

Considering the audience
Stepping around the overly general question of whether composers should consider their audience when writing, I'm considering the specific role the audience plays in my own process - and how my approach could be counterproductive to producing more interesting work.